Akshay Kumar's Ghis Ghis Ghis is not here to win critics; it's here to hijack weddings, reels and meme pages

There are songs that arrive with mood lighting, designer costumes, international locations, 400 background dancers, drone shots, neon frames and a marketing deck longer than the screenplay. And then there is Ghis Ghis Ghis from Welcome To The Jungle, which seems to have arrived with only one mission: Boss, speaker phaadna hai. In an industry that has become painfully obsessed with looking cool, sleek, premium, curated and Instagram-safe, Ghis Ghis Ghis feels like that one loud baraati who enters the wedding before the groom, dances with the band, argues with the dholwala, eats two plates of chaat and still becomes the most memorable person of the evening. The recently released song from Welcome To The Jungle features Akshay Kumar with Bhojpuri star Akshara Singh has clocked more than 6 million views in the past 24 hours. But the bigger story is not just the song. The bigger story is what the song represents. Bollywood has spent the last few years trying very hard to decode virality. T...

Landmarks review – Lucrecia Martel’s beautiful account of an Indigenous murder case

Martel’s documentary about the shooting of Javier Chocobar is a mannered and dignified work, laden with post-colonial tension and the weight of institutions

The great doyenne of Argentine cinema, writer-director Lucrecia Martel (La Ciénaga, The Holy Girl, The Headless Woman), ventures into documentary to cover a murder trial, the issues of which spill out into very Martelian areas of concern: land and terrain as an active force in people’s lives, the tension between Indigenous people and the descendants of colonists, the legacy of weighty institutions (the law, the church) on everyday people.

Like Martel’s fictional features, Landmarks unfolds in stately fashion, and features the sort of editing that lingers on the face of a speaker holding forth, or follows a cleaner polishing furniture and a clerk distributing dainty cups of coffee to the authorities as the arguments drag on. Martel explores the more poetic side of drone technology, giving the viewer a very clear understanding of the lay of the land while also creating oneiric, disorienting sequences in which we see goats and people ambling along mountain paths upside down, creating what looks like abstract landscapes in tonal shades of green. It’s really quite beautiful – if sometimes a touch soporific.

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